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After more than a century of genocides and in the midst of a global pandemic, this book focuses on the critique of biopolitics (the government of life through individuals and the general population) and the counterdevelopment of biopoetics (an aesthetics of life elaborating a self as a practice of freedom) realized in texts by Virginia Woolf, Michel Foucault, and Michael Ondaatje. Their world fiction produces transhistorical, transnational experiences offered to the reader for collective responsibility in these critical times. Their books function as heterotopias: spaces and processes that recall and confront regimes of recognized truths to dismantle fixed identities and actualize possibilities for becoming other. Higgins and Leps define and explore a slant, biopoetic perspective that is feminist, materialist, anti-racist, and anti-war.
Angela Carter’s work is a collage of discourses and genres. The challenge of finding a critical framework, complex and accurate enough to classify her work, has remained. The spectacular and the pragmatic threads of her texts, framed by extreme seriousness and witty humour are unravelled with the help of a different metaphor, denoting enigmatic spaces, conterdiscourses, borders of otherness – heterotopia. Five novels out of nine, five short stories out of thirty-five, as well as Carter’s two film adaptations are filtered through a term extricated from its medical and geographical roots, which emphasizes the ambiguity, as well as the dialogic interaction of Angela Carter’s often discordant discourses that have kept her at the top of the literary canon.
Doctoral Thesis / Dissertation from the year 2009 in the subject Didactics for the subject English - Literature, Works, grade: magna cum laudae, , course: English Literature, Film Studies, language: English, abstract: Angela Carter’s work is a collage of discourses and genres tackling such issues as identity construction, marginality, myth as foundation of ideology, fluidity of boundaries. Her playful intertextual allusions to literature, psychology, politics and popular culture are infused with irony and wit, and the challenge of finding a critical framework complex and accurate enough by which to study her work has remained, since no classification seems to do her justice. My solution in this study is to move away from the urge to approach her works according to literary frames, to a discussion informed by a different metaphor, denoting enigmatic spaces, conterdiscourses, borders of otherness – heterotopia. My looking-glass examines five novels out of nine, five short stories out of thirty-five, as well as Carter’s two film adaptations. I have condensed her rich patchwork of stories, characters and techniques into a term extricated from its medical and geographical roots, befitting the rich intertextuality of her themes, her interest in boundaries between fact and fiction, margins and centres, or the interplay between sacred and profane. The concept of heterotopia emphasizes the ambiguity, as well as the dialogic interaction of Carter’s often discordant discourses. The spectacular and the pragmatic threads of her texts, framed by extreme seriousness and witty humour, have delighted and offended readers, consequently maintaining Carter’s literary and cinematic montage at the top of the literary canon, as the present study will show.
This volume takes ending the oppression of other animals seriously and confronts the question ‘What would happen to all the animals?’ by showcasing real, promissory, and imagined counter-sites or heterotopia, where animals ‘happen’ in different ways, free of anthropocentric orders of value and purpose. Rejecting persistent understandings of the oppression of nonhuman animals, across the entire breadth of the Animal-Industrial Complex (A-IC), as either non-existent, unproblematic, and/or fundamentally unalterable – open to merely being reduced in scale or made less harmful – the collection offers readers a variety of pathways towards radically ‘disordered’ ways of thinking about and relating to other animals. Over 14 chapters, authors describe more liberatory relational reconfigurations playing out in the present and undertake conceptual, imaginative, and embodied explorations of liberatory futures. The chapters are united by a common commitment to heterotopic disturbance – to contesting and subverting the anthropo-capitalo-centric space in which we live. Each chapter approaches this subversion in its own way, using prefiguration, restorying, speculation, radical imagination, and combinations thereof, to disturb or shatter orders, explore the kinds of liberation and resistance their disturbance demonstrates, demands, or embodies, and ultimately illustrate exactly what would or could happen to all the animals. Heterotopia, Radical Imagination, and Shattering Orders will appeal to scholars, students, and individuals interested not only in challenging normalised binaries, hierarchies, and orders of value, both human and nonhuman, but in creating and realising liberatory alternatives. Scholar-activists, activists, professionals working in animal advocacy, and anyone undertaking activities aimed at radically changing how other animals are understood and used will also find inspiration, new insights, and information that enhance their current methods and approaches. Some readers may also find simply confirmation and comfort in the knowledge that so many others are working in solidarity with the ‘disordered’ belief that shattering the A-IC is possible.
This is the first volume to consistently examine Soviet engagement with world literature from multiple institutional and disciplinary perspectives: intellectual history, literary history and theory, comparative literature, translation studies, diaspora studies. Its emphasis is on the lessons one could learn from the Soviet attention to world literature; as such, the present volume makes a significant contribution to current debates on world literature beyond the field of Slavic and East European Studies and foregrounds the need to think of world literature pluralistically, in a manner that is not restricted by the agendas of Anglophone academe.
As the first book-length study of emergent Pakistani speculative fiction written in English, this critical work explores the ways in which contemporary Pakistani authors extend the genre in new directions by challenging the cognitive majoritarianism (usually Western) in this field. Responding to the recent Afro science fiction movement that has spurred non-Western writers to seek a democratization of the broader genre of speculative fiction, Pakistani writers have incorporated elements from djinn mythology, Qur'anic eschatology, "Desi" (South Asian) traditions, local folklore, and Islamic feminisms in their narratives to encourage familiarity with alternative world views. In five chapters, this book analyzes fiction by several established Pakistani authors as well as emerging writers to highlight the literary value of these contemporary works in reconciling competing cognitive approaches, blurring the dividing line between "possibilities" and "impossibilities" in envisioning humanity’s collective future, and anticipating the future of human rights in these envisioned worlds.
This study investigates power, belonging and exclusion in British society by analysing representations of the mosque, the University of Oxford, and the plantation in novels by Leila Aboulela, Robin Yassin-Kassab, Diran Adebayo, David Dabydeen, Andrea Levy, and Bernardine Evaristo. Lisa Ahrens combines Foucault's theory of heterotopia with elements of Wolfgang Iser's reader-response theory to work out Black British and British Muslim literature's potential for destabilising exclusionary boundaries. In this way, new perspectives open up on the intersections between space, power and literature, intertwining and enriching the discourses of Cultural and Literary Studies.
Translated from the original French publication, this book provides a comprehensive analysis of 20th century Chinese literature and examines the relationship between Chinese literary theory and modernity. The author surveys the work of leading writers including Zhang Ailing, Beidao, and Mu Dan. The author seeks to answer some fundamental questions in the study of Chinese literary history, such as: How does contemporary Chinese literature go from historical narrative to the narrative of the I, where rhythm and epic merge into writing, and where the instinctive load of the rhythm substantiates the epic? What are the steps and the forms of mediation that allow such a transition? Is the subject the only agent of the transition? What is its status? What is the role of poetic language that led to the birth of the subject and which separates it from empiricism? What are the difficulties faced by Chinese writers today? Young Chinese writers set off in search of a totally new writing to rediscover subjectivity, which is in no way limited to literature; it also covers areas such as the law, and the expression of the I confronted to an overpowering we.
Patrick West’s Architectures of Occupation in the Australian Short Story cultivates the potential for literary representations of architectural space to contribute to the development of a contemporary politics of Australian post-colonialism. West argues that the predominance of tropes of place within cultural and critical expressions of Australian post-colonialism should be re-balanced through attention to spatial strategies of anti-colonial power. To elaborate the raw material of such strategies, West develops interdisciplinary close readings of keynote stories within three female-authored, pan-twentieth century, Australian short-story collections: Bush Studies by Barbara Baynton (1902); Kiss on the Lips and Other Stories by Katharine Susannah Prichard (1932); and White Turtle: A Collection of Short Stories by Merlinda Bobis (1999). The capacity of the short-story form to prompt creative and politically germinal engagements with species of space associated with architecture and buildings is underscored. Relatedly, West argues that the recent resurgence of binary thought—on local, national, and international scales—occasions an approach to the short-story collections shaped by binary relationships like a dichotomy of inside and outside. Concluding his argument, West connects the literary and architectural critiques of the story collections to the wicked problem, linked to ongoing colonial violences, of improving Australian Indigenous housing outcomes. Innovative and interdisciplinary, this book will be of interest to scholars and students of Literary, Architectural, and Postcolonial Studies. .
This book demonstrates how world fiction by Woolf, Foucault, and Ondaatje counters biopolitics with aesthetic and political--biopoetic--strategies producing transhistorical, transnational experiences offered to the reader for collective responsibility. It defines and explores heterotopic processes fostering a slant perspective that is feminist, materialist, anti-racist, and anti-war.